This album was released on May 17^th, 2019 on Blue Swan Records.

I am personally in the camp that believes that Kurt Travis has been criminally underrated for his entire career. Every Dance Gavin Dance argument is between crowning Tilian Pearson and Jonny Craig as the best singer for the band, Eternity Forever crashed and burn due to some internal arguing, A Lot Like Birds broke up one album after Travis left, and what happened to Push Over? Every band that Travis has been in has had something dramatic happen to it once he left (praying for you to stay strong, Royal Coda). The one thing that has stayed somewhat constant in Travis’s musical endeavors is his solo career. Everything Is Beautiful showcased a softer side of the artist’s mind (via instrumentals, the lyrics have always been melancholy) and he followed it up with some singles and EPs here and there. With the announcement of TAPIWTTY, the funk is back, and we are treated to some more of the signature crooning we have come to love over the years.

Upon first research of the album, Travis said that TAPIWTTY took five years to complete. The emotional maturity that is present on the album makes this evident that the record will have some emotions attached to it. There’s nothing too out of the ordinary when the album kicks up with a refreshing return to alternative rock / post-hardcore with “Too Much Space”, featuring singer-songwriter Andrés. The groove that has become accustomed to Travis compositions is present throughout a lot of the album as well, especially on tracks like “It’s You”, where the simple guitar lick forms the backbone for the song to showcase the vocal delivery. “We’ll Probably Be Alright” takes more of a harder approach sound-wise, with some pop punk elements thrown in to give the middle of the album an unforeseen turn in framework. Starting with “Best Way”, the album begins to sound a tad monotonous, but the album closer “Lewis” rectifies the sound for a soft, piteous ending to the record.

Compared to Everything Is Beautiful, the album stays virtually the same in terms of lyrical content. Travis has dealt with a lot of demons in the past, most notably smoking and drinking problems, and failed love. Where these topics are a mainstay in the genre (and in most music in general), Travis opens up with an impuissant emotion that has become a trademark of sorts. Painful lyrics reside in songs like “Best Way” and “Tomorrow Will Be Fine”, where a small bit of playfulness with the emotion is in the single “Easy Peasy”, where ignorance is probably a safe haven for Travis’s psyche.

With all of the obstacles that Travis has come to face in his musical career, he has somehow managed to piece together solid music over several projects and efforts. TAPIWTTY continues that trend, and the production of this music that has been in limbo for so long deserved to see thee light of day much sooner. Time well tell of what to come regarding Royal Coda (and Push Over – seriously, what happened there?), but the solo stylings of Kurt Travis are more than enough to give us what we want: groove, funk, honesty, and an honest effort that feels true of heart.

Rating: 7/10

Favorite Songs: “Easy Peasy”, “Tomorrow Will Be Fine”, “We’ll Probably Be Alright”